Research article
The aesth-ethic science of visual data
storytelling: Istat’s experience
Statistical Journal of the IAOS
2025, Vol. 41(4) 1321–1337
© The Author(s) 2025
Article reuse guidelines:
sagepub.com/journals-permissions
DOI: 10.1177/18747655251366480
journals.sagepub.com/home/sji
Daria Squillante, PhD
1
Abstract
In the contemporary techno-informational visual revolution, the Italian National Institute of Statistics (Istat) is advancing
the technical-scientific synergies between multi-source, multi-dimensional statistical production and multi-target, multi-
channel statistical communication. More specifically, Istat’s communication envisions the harmonization of ‘content’ and
‘container’ not only as a Figure/Ground dialectic, but also as an interpenetration between statistical substance and the
visual form of its phenomenological representation. Within this strategic approach, this paper presents Istat’s growing
infographization of its multi-thematic production, with a focus on video infographics as a case study, discussing its main
challanges.
Keywords
statistical communication, visual data storytelling, cognitive processing of visuals
Received: 23 May 2025; accepted: 27 July 2025
1 Statistical production and
communication: A creative
technical-scientific Pas de Deux
1.1 Statistical communication according to the
Onlife paradigm
In today’s information revolution, the Italian National
Institute of Statistics (Istat)—just a breath away from its
centenary— is performing a technical-scientific pas de
deux between multi-source, multidimensional production
and multi-target, multi-channel communication. It does
so with an increasing level of expertise and creativity,
by harmonizing content and container in statistical dissem-
ination. This harmonization is no longer conceived solely
as a Figure/Ground dialectic, but—when appropriate—as
a fusion of statistical substance and the visual form of
phenomena representation.
The contemporary socio-technological Onlife paradigm
(Floridi, 2014)—already pervasive by the end of the
last millennium and increasingly influential in the first
twenty-five years of the twenty-first century—first chal-
lenges, and then ultimately deconstructs, both the general
principles of the now-unstable hierarchical information
era—characterized by the unidirectionality of the infor-
mation process (i.e., sender-to-recipient) and the selec-
tivity of information recipients (i.e., expert users)—and
their specific application in shaping the mission and core
communication strategies of National Statistical Institutes
(NSIs).
Indeed, as recently as 1993, the i nternet was used
almost exclusively in scientific, research, and military set-
tings. Web 1.0 still reflected a top-down communication
model, where the needs and input of the audience remained
peripheral to institutional communication strategies. By
2005—with the rise of Web 2.0—and even more so with
the conceptual and structural leaps of 2007 and 2015 (Web
3.0), a visually oriented and pervasive Web began to sus-
tain the progressive reengineering of NSI communication
strategies.
This emerging, globalized information-identity structure
of the Onlife, also grounded in the overarching ideal of
“universal participatory knowledge,” challenges NSIs to
reframe the civic ideal of official statistics as a common
good produced, into one of official statistics as a common
good both produced and shared.
In other words, the civic value of high-quality sci-
entific production is now accompanied by the civic
imperative of its communication—statistically reliable but
1
Directorate for Communication - Responsible for ISTAT Statistical
Communication, Italian Institute of Statistics - ISTAT, Rome, Italy
Corresponding author:
Daria Squillante, Istat, Via Cesare Balbo 16, 00100 Rome Italy.
Email: squillante@istat.it
1322 Statistical Journal of the IAOS 41(4)
also accessible and engaging not only for expert audi-
ences, but also for broader, non-expert publics. These
audiences are now easily reachable through both old
and new media, which have become ubiquitous due to
their broad availability and the active role users play in
their use.
In this inclusive information era—where sharing, inter-
action, circulation, and reinterpretation of content are
foundational practices of a hybrid space blurring the
lines between producers and consumers of (statistical
and other) information—NSIs statistical communicators
becomes increasingly responsible for co-creating mes-
sages, in varying ways, rather than merely transmitting
information.
This co-creation involves, albeit in different roles, both
the inclusion of audience expectations in the initial design
and production of information (i.e., incorporating the
receiver’s input at the sender’s output stage), and the ampli-
fication of the original information’s reinterpretation and
reuse by the audience (i.e., the sender’s output becom-
ing input for t he receiver’s new content), across an ever-
evolving range of sharing platforms. All authors cited in
the references have been inspirational in the development
of this contribution, without direct attribution to specific
sections of the text.
1–12
1.2 Audience protagonism and the complexity of
creating infographics and video infographics
To ensure the effectiveness of statistical communication in
a world flooded by both reliable and unreliable content,
NSIs are now more consciously and coherently attuned to
the web and to their current and potential audiences. They
are mastering the shift from a hierarchical perception of the
information chain—distinguishing between “producer” and
“consumer”—towards a model dominated by the prosumer:
the consumer who also becomes a producer by extracting,
manipulating, and reusing information.
Thanks to a creative convergence of technical and sci-
entific expertise, Istat’s attentiveness to this “new protago-
nism” of audiences is expressed through:
a) Structured feedback and continuous optimization;
b) Motivation analysis and audience engagement;
c) Interdisciplinary integration and production
capacities;
d) The “3Es” framework in communication: effective-
ness, efficiency, and economy.
The following sections briefly explore each of these four
interconnected areas, highlighting how they contribute to
the development of a more responsive, effective, and sus-
tainable model of statistical communication grounded in
infographics.
a) Structured feedback and continuous
optimization
Responsiveness to direct and indirect user feedback
is a cornerstone of Istat’s strategy for shaping both
the content and form of its visual data storytelling
products.
This feedback is increasingly gathered through digi-
tal performance analytics, including metrics such as
page views, time on page, click-through rates, social
media engagement indicators (likes, shares, com-
ments), and platform-specific insights from tools
like Facebook Insights, X/Twitter Analytics, and
LinkedIn metrics.
This operational model has guaranteed two main
goals:
Evidence-Based Evaluation of Statistic Commu-
nication Effectiveness
Data offer valuable, real-time proxies for user inter-
est, comprehension, and interaction, allowing com-
munication teams to monitor how content performs
across different channels and audience segments.
For example, particularly high bounce rates or short
viewing times on certain infographics may sig-
nal issues with visual clarity or narrative struc-
ture, prompting targeted redesign. Conversely, high
shareability or extended viewing of a video info-
graphic may inform future editorial choices;
Data-Driven Optimization and Iterative Design
This operational model aligns with an evidence-
based communication approach, where statistical
outputs are not only published but also tested,
measured, and iteratively improved. In other
words, such insights feed into a cycle of
continuous optimization, where user behav-
ior actively informs the evolution of formats,
layouts, themes, and dissemination timing.
In Istat, this data-driven feedback loop is sup-
ported by multidisciplinary expertise and human
resources—including statistical experts, statistical
communication specialists, graphic designers,
psychologists, web s pecialists, and social media
professionals—capable of interpreting not only
the numbers, but also the underlying cognitive
and motivational dynamics of diverse user groups,
both expert and non-expert, as well as techni-
cal issues. This integrated approach reinforces
the dual aim of scientific rigor and accessibility.
b) Motivation analysis and audience engagement.
Understanding the multifactorial motivational
matrix that drives user preferences, reactions,
Squillante 1323
and levels of engagement or disengagement with
various types of statistical communication products
is essential for designing effective dissemination
strategies.
This complex motivational landscape encompasses
cognitive, emotional, and contextual factors that
influence how diverse audiences interact with con-
tent. For instance, expert users may prioritize data
accuracy and methodological transparency, while
non-expert audiences often seek clarity, narrative
coherence, and visual appeal.
To capture this complexity, Istat employs a mixed-
methods approach that integrates both qualitative
and quantitative research techniques. Quantitative
data derive from large-scale surveys assessing user
satisfaction, trust, and perceived usefulness of dif-
ferent formats, as well as from behavioral analytics
tracking interaction patterns—such as time spent on
pages, click rates, and social media sharing metrics.
Less often, complementarily, qualitative insights are
derived from focus groups and usability testing ses-
sions (Usability testing is especially practiced in the
development of statistical games, within the broader
framework of gamification. In these cases, evalu-
ating user experience is crucial not only to ensure
comprehension and engagement, but also to balance
educational goals with playability and motivational
appeal.), which provide rich contextual understand-
ing of users’ needs, motivations, and barriers to
engagement.
This combination enables granular identification of
the narrative formats—ranging from static info-
graphics and interactive dashboards to short-form
video infographics—that are most effective in stim-
ulating comprehension, retention, and trust across
heterogeneous user groups.
Such evidence-based knowledge guides the itera-
tive design and refinement process, ensuring that
communication products are not only scientifically
rigorous but also accessible and engaging for both
expert and lay audiences.
Furthermore, the evaluation of (non)engagement
patterns informs targeted adjustments in content
complexity, visual language, and dissemination
channels, optimizing reach and impact within the
evolving Onlife paradigm.
c) Interdisciplinary integration and production
capacities.
The interdisciplinary integration of statistics with
fields such as information visualization and design,
digital s torytelling and marketing, neuroscience and
communication psychology, AI, represents a crit-
ical evolution in the communication strategies of
National Statistical Institutes (NSIs). This multi-
faceted integration aims to enhance the clarity,
accessibility, and emotional resonance of statistical
products, thereby fostering greater user engagement
and trust across diverse audiences.
However, while conceptually powerful, this integra-
tion presents tangible organizational and operational
challenges.
The production of high-quality visual communi-
cation outputs requires specialized technical skills
including statistical competence, data visualization
expertise, narrative crafting abilities, graphic excel-
lence, user experience (UX) proficiency, among
others.
Such competencies often span distinct professional
domains, necessitating collaborative workflows and
effective interdisciplinary coordination within the
NSI. Moreover, these activities require appropri-
ate technological infrastructure, software tools, and
continuous investment in professional development.
In this context, Istat face pressing strategic ques-
tions regarding the allocation and management of
financial and human resources. Key considerations
include determining which capabilities should be
cultivated internally—through targeted recruitment,
interdisciplinary team-building, and training pro-
grams—and which can be effectively outsourced to
external agencies or freelance specialists.
Sometimes outsourcing may offer to Istat flexibil-
ity and access to cutting-edge expertise for complex
or resource-intensive projects, such as large-scale
digital campaigns.
For the communication of the new permanent Cen-
suses Population and Housing Census; Busi-
ness Census; Census of Public Institutions; Cen-
sus of Non-Profit Institutions; and Agricultural
Census Istat collaborates indeed with a com-
munication agency for the development of selected
institutional and statistical communication products.
Nonetheless, the Institute retains full control and
supervision over both the substantive content and the
stylistic direction of all materials produced.
However, maintaining internal competencies
remains essential for ensuring institutional knowl-
edge, responsiveness to user feedback, and
alignment with the NSI’s mission and quality
standards. Istat exemplifies this balanced approach
by adopting a hybrid production model.
Internal teams, often formed through cross-
disciplinary collaboration and continuous
upskilling, manage the core phases of content
design, data analysis, and initial visualization.
External contributions complement these efforts,
particularly for advanced multimedia products
1324 Statistical Journal of the IAOS 41(4)
requiring specialized creative skills or capacity
surges.
This model allows Istat to optimize resource uti-
lization while upholding the s cientific integrity and
communicative effectiveness of its statistical dis-
semination in a rapidly evolving information ecosys-
tem, such as implemented, for example, for new
permanent Census.
d) The “3Es” in communication: effectiveness, effi-
ciency, and economy.
The sector-specific application of the “3Es” of
public policy—effectiveness, efficiency, and econ-
omy—serves as a fundamental framework within
the architecture of statistics-based communication.
This framework ensures that the design, production,
and dissemination of statistical outputs are aligned
with both organizational objectives and public ser-
vice mandates.
Effectiveness refers to the actual impact of com-
munication efforts in achieving their intended out-
comes, such as enhancing comprehension, fostering
trust, and promoting the practical use of statistical
information by both expert and non-expert audi-
ences. This dimension is closely linked to the anal-
yses of user motivation and engagement described
in point (b), as well as to the responsive feedback
mechanisms highlighted in point (a), which pro-
vide empirical evidence to assess and improve the
communicative impact.
Efficiency pertains to the optimization of processes
and resource utilization involved in producing statis-
tic communication products. It encompasses the
management of workflows, collaboration across
interdisciplinary teams (point (c)), and the prudent
application of technological tools and methodolo-
gies. Efficient workflows ensure that high-quality
outputs are delivered in a timely manner, avoiding
unnecessary duplication of effort and enabling swift
adaptation to user feedback and evolving informa-
tional needs.
Economy, the third and equally critical “E,”
addresses the cost-benefit considerations inherent
in statistic communication production. As detailed
in point (c), the creation of visually compelling
and engaging formats such as infographics and
video infographics demands significant investments
in specialized personnel, software, and time. These
resource-intensive formats, while potentially offer-
ing superior engagement and memorability, must be
balanced against budget constraints and organiza-
tional priorities.
This triadic framework necessitates strategic decision-
making to optimize the allocation of limited financial
and human resources without compromising the scien-
tific integrity or communicative effectiveness of statistical
dissemination.
For example, Istat’s hybrid model of combining in-house
expertise with external contributions (point (c)) exempli-
fies how institutions can achieve a sustainable balance,
leveraging specialized skills for complex productions while
maintaining control over core functions.
Ultimately, the “3Es” principle guides Istat in navi-
gating the trade-offs between high-impact communication
and resource feasibility, ensuring that statistical informa-
tion remains a common good, both rigorously produced and
effectively shared, in alignment with the Onlife paradigm of
participatory knowledge described earlier.
The following section provides an overview
of the operational design process behind Istat’s
infographics—illustrating how these principles are trans-
lated into practice through a structured and interdisciplinary
workflow.
1.3 The process of designing and producing a
statistical infographic
Istat’s infographics experiments r epresent a unique fusion
of scientific art and artistic science, where creative design
enhances informational accuracy in the science of visual
data storytelling.
The aim is not merely to list data, but to tell struc-
tured visual stories crafted to capture attention and deepen
understanding, while remaining faithful to the ideal and
inspirational triangulation between scientific rigor, the per-
formative power of experiential graphics, and the pro-
tection and enhancement of the Istat brand and visual
identity.
To uphold this triangle of aesthetic-scientific info-
graphic communication—an overarching principle guaran-
teed across all of Istat’s statistical communication products
regardless of format, channel, or audience—the f ollowing
core principles can be summarized:
Simplicity
Istat’s designs strive for simplicity as the pinnacle of
complexity, ensuring that data is intuitively under-
stood and that user attention is enhanced rather than
hindered by technical jargon or complexity.
Clarity and Consistency
Information is always presented clearly and legibly,
supported by a consistent style in terms of colors,
fonts, and imagery, which also evocatively reflects
the themes addressed.
Relevance
The graphic architecture reinforces the intuitive hier-
archy of content and guides its optimal sequence for
consumption.
Balance
Squillante 1325
To maximize visual impact, careful attention is paid
to balancing textual elements—both numbers and
words—with graphical components.
Originality
Statistical communication products aspire to be
unique and memorable experiences of statistical
aesthetics, where the Istat brand strengthens and
extends its reputation among both loyal and new tar-
get audiences, positioning itself as an indispensable
source of statistics.
To operationalize these principles—while preserving the
uniqueness of each infographic creation—a sequence of
preparatory steps can be identified:
Phase 1 - Interdisciplinary Collaboration and Orga-
nizational Planning
Assemble a multidisciplinary team including statis-
ticians, communication experts, data visualization
experts, graphic designers, user experience special-
ists, and communication psychologists.
Clearly define roles and responsibilities to facili-
tate collaborative workflows and maintain alignment
with scientific and communicative objectives.
Evaluate and decide on internal production ver-
sus outsourcing of specific tasks, balancing exper-
tise availability, cost considerations, and production
timelines.
Phase 2 - Needs Assessment and Audience Analysis
Identify and segment the target audience, ranging
from expert users to the broader public.
Analyze motivations, preferences, and potential bar-
riers to engagement through qualitative and quantita-
tive methods.
Define the core message(s) and select statistical con-
tent that aligns with the civic mission of official
statistics as a public good.
Phase 3 - Data Composition and Preparation
Perform thematic, quantitative, and typological anal-
ysis of available data (the “data bouquet”) to estab-
lish the foundation for communication.
Select high-quality, relevant, and timely statistical
data to ensure scientific rigor and transparency.
Clean and process data to facilitate effective
visualization, taking into account complexity and
multidimensionality.
Phase 4 - Format Selection and Conceptual Design
Choose the communication format (card, info-
graphic, video-infographic) based on the informa-
tional volume, audience needs, and engagement
potential.
Develop a narrative and storyboard that balance
statistical substance with visual clarity and sto-
rytelling principles drawn from interdisciplinary
fields (statistics, communication psychology, digital
storytelling).
Design initial layouts that establish a clear visual
hierarchy, guiding users through the content seam-
lessly and harmonizing textual and graphical
elements.
Phase 5 - Prototype Development
Produce a first draft or prototype, applying best
practices in data visualization and graphic design.
Utilize appropriate software tools and infrastruc-
ture tailored to the chosen format (static, interactive,
video).
Phase 6 - Iterative Refinement and Optimization
Adjust visual, narrative, and technical elements to
enhance clarity, trust, and memorability, identifying
comprehension challenges and design issues.
Maintain an ongoing balance between effectiveness
(user impact), efficiency (workflow optimization),
and economy (resource allocation), adhering to the
“3Es” framework.
Phase 7 - Final Production, Branding, and Quality
Assurance
Finalize the infographic or video infographic ensur-
ing accuracy, visual consistency, and accessibility
across formats and platforms.
Ensure full compliance with the Istat visual
identity guidelines—including use of institutional
colors, logos, typographic systems, and graphic
conventions—to maintain recognizability, institu-
tional coherence, and public trust.
Perform comprehensive quality control on data
integrity, visual fidelity, and technical functionality
across dissemination environments.
Phase 8 - Dissemination and Engagement
Monitoring
Launch and promote the product through strate-
gic channels (website, social media, public events,
conferences,...)tomaximizer
each and impact.
Monitor real-time user engagement metrics—views,
shares, comments, session duration—and social
media analytics.
Use engagement data to inform subsequent com-
munication strategies and iterative content improve-
ments.
Phase 9 - Post-Dissemination Evaluation and
Reporting
Conduct rigorous evaluation of the infographic’s
impact on user comprehension and trust, through
web analytics assessing whether users have cor-
rectly understood, remembered, and acted upon the
information presented.
Report evaluation outcomes internally for organiza-
tional learning and externally for transparency and
accountability.
1326 Statistical Journal of the IAOS 41(4)
Update institutional knowledge bases and training
programs to foster ongoing capacity-building and
interdisciplinary collaboration.
This structured process exemplifies how Istat responds
to the demands of the Onlife paradigm by embedding
user-centered design, interdisciplinary collaboration, and
resource-aware management into the creation of statisti-
cally rigorous and publicly accessible infographics.
However, the growing relevance and communicative
power of visual formats cannot be explained solely by
contextual or technological shifts.
In fact, the success of infographics also reflects a deeper,
evolutionary foundation: the structural and functional pre-
disposition of the human species toward visual processing.
Our brains are naturally wired to perceive, interpret, and
retain visual information more efficiently than text alone—a
principle that underscores the strategic value of visual sto-
rytelling in statistical communication. The next section
explores this innate orientation in greater detail.
1.4 A visually-oriented Species
To navigate the futuristic wave of the 3.0
era—unprecedented in the acceleration and unpredictabil-
ity of its trajectory—Istat, like other official statistical
institutions around the world, draws on and actualizes
a 35,000-year evolutionary legacy. Through its visual
statistical products, Istat acknowledges the deeply rooted
physical and psychological, individual and collective,
human need and ingenuity for visualizing the story of our
species—using forms and content at the intersection of
image, word, number, and art.
The human brain’s structural and functional predis-
position for visual processing has never been ques-
tioned by adaptive strategies. In fact, it has inspired and
guided, across centuries, everything from the earliest proto-
statistical infographics drawn on cave walls—weren’t the
graphic marks enumerating hunted animals a form of sta-
tistical inscription?—to the official adoption of data visual-
ization as a military strategy tool in the nineteenth century.
From the global explosion of visualization software in the
1980s to the (quasi)omnipotent applications of artificial
intelligence in today’s visual domain, the visual has played
a central role in human cognition.
Far from naïve, evolution has strategically concentrated
most sensory receptors in the eyes among all external
perception systems—nearly half of the human brain is con-
tinuously engaged in visual processing, and humans can
process and grasp the meaning of a visual scene in under
a second. Additionally, color enhances attention just as
moving images aid long-term memory—both serving as
emotional triggers that activate mirror neurons and foster
stronger neural connections.
When it comes to the design and experience of statistical
communication products, these species-specific structural
and functional characteristics guide Istat’s efforts to craft
visuals that are scientifically designed to enhance mem-
orability and retention of statistical information, while
also preventing cognitive overload—a state in which dis-
organized visual input overwhelms working memory and
impairs understanding.
The cognitive overload that Istat seeks to prevent in its
visual data storytelling products stems from both exces-
sive input—typified by today’s so-called “data deluge,”
a reality marked by unbounded sources and information
volume—and low-quality input.
While overload from excessive input is more intuitive,
low-quality input refers more specifically to stimuli—in
this case, statistical information content and its graphic ren-
dering—that fail to meet three key cognitive expectations
embedded in our brain’s wiring for optimal performance:
a) The expectation of high essential processing.
Essential processing refers to the cognitive activity
required to make sense of both complex and simpler
inputs such as texts, images, or their combinations.
Neuroscience shows that successful visual essential pro-
cessing depends on access to rigorously curated images
and words, chosen for their synthesizing power and
organized in a coherent, logical structure. This facil-
itates intuitive integration between textual and visual
structures.
b) The expectation of low incidental processing.
Incidental processing refers to the cognitive “effort”
needed to understand information, depending on the
quality of its presentation. If excessive effort is required,
it can overload cognitive resources, leading to poor com-
prehension, abandonment during consumption, or failed
retention and learning.
c) The expectation of low representational
processing.
Representational processing is the cognitive work
needed to hold an input—such as a number, pictogram,
or video frame—in working memory until enough infor-
mation is available for complete meaning extraction. If
accessing key content for full understanding takes too
long, overuse of working memory may result in com-
prehension bias or deficits in attention, memory, and
learning.
Within this theoretical and operational framework, Istat
aims to produce infographic communications that:
support essential processing while minimizing inci-
dental and representational load, ensuring an over-
all optimized cognitive processing, also benefiting
those l ess accustomed to ‘cognitive marathons’, by
Squillante 1327
facilitating a full and rapid understanding of key
informational messages;
minimize cognitive fatigue by maximizing informa-
tional synthesis and avoiding redundancy;
optimize content coherence and thematic
segmentation/sequencing of visual-textual materials,
facilitating structured information access;
ensure rapid access to all information necessary
for full comprehension, thereby reducing represen-
tational processing time.
But that’s not all.
In line with our structurally and functionally wired
architecture—a living, ultra-connected system both at the
intra-cerebral and inter-organic levels—Istat, through its
visual data storytelling products, is committed to design-
ing technical-scientific layouts that foster synchrony and
bi-hemispheric human integration in meaning-making pro-
cesses, ultimately enabling an i ntegrated and complex expe-
rience, even in the seemingly simple act of engaging with
an infographic.
Indeed, If it is true, in fact, that when faced with a
statistical infographic, hemispheric lateralization leads the
left hemisphere to focus on more rational and analytical
processing, while the right hemisphere engages its syn-
thetic and imaginative capacities, it is only through their
synergistic complementarity that a fully integrated experi-
ence of understanding and engagement—bridging logic and
creativity—can be achieved (Figure 1).
In the visual statistical communication strategy using
infographics and video infographics, this cerebral duality is
specifically considered both ex ante during the design phase
and ex post during consumption by the target audiences.
In other words, these products aim to facilitate hemi-
spheric integration by offering a multi-code narrative that is
compatible and harmonious, allowing the left hemisphere
to efficiently process logical information and relationships
presented in numerical, graphical, and tabular formats,
while enabling the right hemisphere to engage with images,
colors, animations, and music to abstract overall interpre-
tations and assimilate concepts through emotional intuition
and creative integration.
In light of the human species’ visual predisposition—
discussed above—and building on the principles previ-
ously explored, including the demands of the Onlife
paradigm, the importance of emotional engagement,
and the need to balance scientific rigor with com-
municative effectiveness, the next section introduces
an original analogy between the design and produc-
tion of video-infographics—within the broader family of
infographics—and the phases of cinematic creation. This
comparison offers a compelling framework for understand-
ing how statistical content can evolve into immersive and
meaningful visual narratives.
2 A cinematic infographic production
house
2.1 Show, don’t tell!
The Onlife Paradigm and the structural-functional aspect of
the species-specific visual inclination allow us to play—in
the noble Winnicottian sense of the term—by creatively
transposing the Hitchcockian slogan “Show, don’t tell!”
from the realm of screenwriters, dialogue writers, and direc-
tors to that of copywriters in statistical communication.
In the design of animated statistical communication
products, just as in cinematic production, what is skill-
fully “shown,” including its subtext, can inform in a way
that differs from what might otherwise be “told.” Consider,
for example, traditional statistical products such as press
releases, notes, and reports.
To paraphrase the famous quote by master Alfred
Hitchcock—“What is drama, but life with the dull bits cut
out”—the goal of video-infographic communication prod-
ucts is to “cut the boring parts out of statistics,” fostering
an inclusive and engaging information transfer experience.
This mirrors the empathetic relationship between viewers
and film protagonists, translated here into the empathetic
relationship between users of statistical content and the
socio-economic and environmental “protagonists” repre-
sented in the product.
How, then, can the steps of cinematic production be
translated into the development process of video infograph-
ics containing statistical content? (Figures 2 and 3).
Step 1 - Inspiration
The tendency to draw inspiration from everywhere and
everyone is a salient feature both in a cinematic produc-
tion house—where an “idea” for a film may come from
a screenwriter, a cinematographer, the director, or even
an outsider—and in a “Statistical Communication Produc-
tion House” like Istat, where inspiration can originate from
internal professionals as well as external sources: public,
private, international, individual, or collective.
Step 2 - Control Idea (Pitch session)
The inspiration for a statistical communication product
is always followed by its conceptual development. Just as,
before writing a screenplay, it is essential for a production
team to clearly define the so-called “control idea” (i.e., the
central concept of the film), which will later be expanded
into a 90- to 120-page script, so too must the development
of a statistical communication product begin with a solid
understanding of its control idea—namely, the key statis-
tical message. This message will guide the distillation of
complex phenomena into content that is synthetic, rigorous,
engaging, and well-targeted.
1328 Statistical Journal of the IAOS 41(4)
Figure 1. Hemispheric specialization and integration in meaning-making.
Source: content D. Squillante, brain image from Shutterstock.
If I can explain my control idea in ve minutes—the
standard duration of the dreaded pitch session—and con-
vince the producer or director of the value of mak-
ing my film or creating my video-infographic, then that
project may still stand a chance of moving forward toward
realization.
Step 3 - Ex-ante Evaluation
Whether it concerns a film or a statistical video-
infographic, once the idea and its purpose are clear and
well-defined, it is essential to evaluate its alignment with the
broader vision of the organizational context—be it a major
film studio or an institution like Istat.
This includes assessing how the project fits within short-,
medium-, and long-term strategic planning; the feasibil-
ity and prioritization of investing limited and valuable
resources—both financial and temporal; and conducting
market analyses to anticipate expectations and reactions
from target audiences. All of this must be considered
within a cost-benefit framework to justify the required
investment.
Step 4 - Product Type
If the feasibility assessment yields a positive outcome,
the next crucial step is to select the most appropriate for-
mat for delivering the key message to which we are about
to dedicate time, resources, passion, and creativity. This
choice must consider not only what is deemed most suit-
able from a communicative standpoint, but also—perhaps
more importantly—the degrees of freedom defined by the
ex-ante evaluation in terms of available resources.
Just as professionals in a major film studio would eval-
uate whether to develop a short, medium, or full-length
narrative (e.g., a short film, a medium-length film, or a
feature film), Istat must decide whether to invest in pro-
ducing, for example, a statistical card, an infographic, or
a video-infographic.
Step 5 - Genre
Each format can then “host” different atmospheres and
narrative tones. Just as a single control idea in cinema can
Squillante 1329
Figure 2. From inspiration to the selection of protagonists.
Source: D. Squillante.
Figure 3. From plot to Ex Post evaluation.
Source: Daria Squillante.
1330 Statistical Journal of the IAOS 41(4)
be expressed through a comedy, a drama, or a science fic-
tion film, the stylistic tone of a statistical key message can
vary—ranging from informative to methodological, from
educational to institutional—depending on, and in accor-
dance with, the diverse and interconnected characteristics
of the target audiences and communication objectives.
Step 6 - Protagonists
Just like in a film, a statistical video-infographic has its
own irreplaceable “protagonists.” Clearly and coherently
identifying these “protagonist phenomena” is essential to
guide the audience in understanding and retaining the key
messages conveyed by the product.
In designing the “statistical cast”—including positive
and reassuring “protagonist” information, negative and con-
cerning “villain” information, “secondary” information that
may not be a key message but serves as a pivotal element in
the infographic narrative, and “supporting roles” that enrich
cognitive understanding—scientific rigor is central, crucial,
and indispensable.
This rigor is exercised by the Istat Communication
Service, both through its technical-scientific expertise in
selecting the specific information to be communicated, and
in designing the overall structure in which that information
is presented.
Step 7 Plot
The work on the “cast,” whether by screenwriters
in a major film studio or by the “screenwriters” at
Istat, is closely tied to the development of the narrative
architecture—the “plot.” While in films this architecture is
structured through scenes, sequences, and acts, in statisti-
cal communication products it unfolds through indicators,
sub-themes, and thematic areas (Figure 3).
At this stage as well, scientific rigor is essential in
“weaving” together the “characters/phenomena” and their
interconnections, in order to effectively and engagingly
convey either the control idea in a film or the key message
in a communication product.
Just as a screenwriter must know every detail of
each character’s “biography,” the Istat “screenwriter” must
understand the full “statistical biography” of each indica-
tor used—ranging from the source data and methodological
choices to data processing—ensuring that the collective
“statistical cast” becomes more than just the sum of its
parts.
In this perspective—and drawing on insights from
Gestalt theory, the Intersubjective Field, and even Epi-
genetics applied to s tatistical communication—each ele-
ment acquires its full, complex, and contextual meaning
only within the phenomenological framework in which
its specific expression takes shape. In other words, each
character/indicator must be interpreted in relation to the
“informational stories” of the other characters coexisting
within the same narrative frame for its meaning to fully
emerge.
For this reason, great care is taken not only in selecting
the indicators for each synthetic statistical communica-
tion product on complex phenomena, but also in justifying
their inclusion based on the specific target audiences and
communication channels involved.
More specifically, and in alignment with the Quality
Assurance Framework of the European Statistical System,
the design of the “statistical plot” leverages technical-
scientific expertise to ensure that the chosen “statistical
characters” are both relevant and useful to users. This
applies both to the robustness of representation—even when
using information sparingly—and to the methodological
rigor of any accompanying explanatory notes, all while
maintaining aesthetic coherence and visual appeal.
Step 8 Climax
As in film dramaturgy, not all “statistical transitions”
within a communication product can—or should—carry the
same level of “informational intensity.”
It is essential for the “screenwriter” to structure the nar-
rative in a way that builds toward and highlights specific
“statistical climaxes.” These moments, much like climac-
tic scenes in film, are designed to significantly heighten the
audience’s experience—whether through analytical depth,
emotional resonance, surprise, or cognitive engagement.
Step 9 - Photography
Just as cinematography plays a crucial role in a
film—shaping the perspective and atmosphere of the story
at every moment—so too does “photography direction” in
a statistical communication product.
This involves the graphic choices regarding the “fram-
ing” of the “on-stage” phenomena: spatial arrangement,
positioning of information, sizing, font selection, colors,
graphic elements, and images. Together, these design ele-
ments form a cohesive visual language that creates a dis-
tinctive atmosphere for the statistics being represented and
organized visually.
In the context of Istat, these choices are not merely aes-
thetic but also serve a strategic function: they safeguard
and express the institution’s visual identity. Consistency in
style, color palettes, and typographic systems contributes to
recognizability, credibility, and coherence across communi-
cation products, reinforcing public trust and the authority of
the statistical message.
Step 10 Direction
The complex process of cinematic or statistical sto-
rytelling requires a director capable of managing the
Squillante 1331
diverse professional skills involved in the art of visual data
narration.
Just as a film director coordinates shots, camera move-
ments, and scene editing to guide the audience’s emotions,
the “visual statistical director”, i.e., Istat responsible of Sta-
tistical Communication, integrates and aligns various areas
of expertise and production components, ensuring that each
element contributes to a clear and compelling message.
The statistical director carefully selects and supervises
data, colors, shapes, and layout to construct a visual nar-
rative that enhances audience engagement and comprehen-
sion. This is done in harmony with the ultimate objective:
to convey the initial control idea through every detail—from
data presentation to lighting, opacity, transparency, music,
illustrations, pictograms, and even the product’s horizontal
or vertical orientation.
Step 11 - Post-production
The finishing and refining phase characterizes the post-
production stage in both cinematic and statistical commu-
nication. During this phase, footage—or the draft of the
statistical product—is selected, cut, and assembled, with
the addition of special effects, sounds, and music to create
a coherent emotional and narrative experience that aligns
with the control idea, tone, and target audience.
Similarly, in the post-production of a statistical com-
munication product, careful attention is paid to optimiz-
ing every visual and auditory element—from font choices
and data arrangement to background music and color
schemes—to fully realize the complex intentions of the
project, maximizing its impact and effectiveness.
Step 12 Distribution
Once a film or statistical communication product is com-
plete, its distribution becomes essential to reach the widest
possible audience—both loyal followers and newcomers,
experts and non-experts alike.
Depending on the genre and content, the distribution
strategy targets the real and/or virtual spaces most fre-
quented by the intended audience—ranging from theaters
and film platforms to institutional websites and social media
channels for video infographics.
Step 13 - Ex Post Evaluation
After the distribution phase of a film or statistical prod-
uct, the evaluation stage begins—both for a film produc-
tion company and for the “Production House of Statistical
Communication.”
Just as a major studio carefully analyzes box office per-
formance, audience demographics, and viewing locations,
the “director” of statistical communication at Istat assesses
the strengths and weaknesses of its products.
This evaluation serves to restart, renew, and enhance
the production cycle, continuously improving the ability to
meet the needs and expectations of its audiences.
2.2 The case study of “statistical films”
The following case studies illustrate how Istat’s video
infographics have been conceived and distributed across
institutional platforms, reflecting a variety of macro-
objectives—from simplifying complex statistical concepts
to increasing the public resonance of key publications.
Moreover, in an increasingly disintermediated commu-
nication environment, Istat’s video infographics consumers
initially act as “spectators” of the “phenomenal charac-
ters” presented by Istat but may evolve into “producers”
and/or “directors” through the creation of “sequels” and/or
“spin-offs” via reworkings and reshares.
Video infographics, in other terms, are not only designed
for comprehension and engagement but also f or circulation,
reinterpretation, and reuse.
2.2.1 Simplified statistics . As part of the democratization
of statistical knowledge, one of the primary objectives
of Istat’s Communication Department has been to make
complex concepts accessible to a non-specialized audience
through explanatory, simple, and engaging video infograph-
ics.
The inherent educational purpose of this type of video
is to bring people closer to statistics by first breaking down
barriers linked to its perceived “incomprehensibility” and
then encouraging viewers to internalize statistics as a uni-
versal tool for situating their citizenship—both reflective
and participatory.
Two cult videos with tens of thousands of views in
the Italian version, GDP Explained in 2 Minutes” and
The Labor Market Explained in 2 Minutes,” exemplify
this approach of simplifying and communicating key con-
cepts that are both complex and pivotal within the socio-
economic macro-thematic framework (Figures 4 and 5).
For instance, the GDP video uses playful graphics to
explain what Gross Domestic Product is, how it is calcu-
lated, and why it remains one of the most widely used
indicators to measure the economic health of countries over
time and across regions. Meanwhile, the labor market video
familiarizes viewers with fundamental concepts such as the
classification of individuals as “employed,” “unemployed,”
or “inactive.”
The decision to produce these videos arose from the
recognition that, although the public acknowledges GDP
and labor market indicators as crucial dimensions in both
public discourse and everyday life, the absence of targeted
educational resources to properly interpret s uch frequently
circulated data in the media can lead to misunderstandings
at both the individual and collective levels.
1332 Statistical Journal of the IAOS 41(4)
Figure 4. Frame from the video “GDP explained in two minutes”.
Source: D. Squillante, Italian National Institute of Statistics, 2020.
Figure 5. Frame from the video “the labor market explained in two minutes”.
Source: D. Squillante, Italian National Institute of Statistics, 2020.
Here is the link to access the video, which has been
shared on the official website, YouTube channel, and insti-
tutional social media profiles:
Link:
IT: https://www.youtube.com/watch?v=uSQrQCbv_Eo
EN: https://www.youtube.com/watch?v=uI1-Q8-BbRI&
t=2s
Here is the link to access the video, which has been
published on the official website, YouTube channel, and
institutional social media profiles:
Link:
IT: https://www.youtube.com/watch?v=o3Mm8HelxBc
EN: https://www.youtube.com/watch?v=z1Fy7HQ8tw0
&t=3s
Squillante 1333
Figure 6. Frame from the video “international day for the elimination of violence against women 2022”.
Source: D. Squillante, Italian National Institute of Statistics, 2022.
2.2.2 Commemorative days. Another strand of Istat’s
video infographics is dedicated to celebrating official inter-
national and world days, aiming to raise awareness and
inform general audiences about social, cultural, economic,
and environmental topics of universal importance.
Often addressing complex themes—such as the Interna-
tional Day for the Eradication of Poverty—and sensitive
issues—like World Suicide Prevention Day—these video
infographics serve as case studies in the delicate art of
visual data storytelling.
In such instances, solid statistical and graphic design
foundations must be carefully combined with a heightened
sense of ethics and sensitivity toward the phenomena being
represented.
A particularly meaningful example of this careful bal-
ance is the video produced in 2022 for the International Day
for the Elimination of Violence against Women. Through
meticulous narrative and visual attention—balancing the
delivery of information with the emotional depth of the
message—it presents data on women’s victimization and
highlights the vital role of anti-violence centers in support-
ing victims’ recovery (Figure 6).
Here is the link to access the video published on the
official Istat website, YouTube channel, and social media
profiles:
Link:
https://www.youtube.com/watch?v=K-T1Z0853ec&
t=16s
Another example of a video created to “statistically cel-
ebrate” globally recognized commemorative days is the
one produced in 2024 for International Women’s Day
(Figure 7).
The decision to include this video in the contribu-
tion reflects Istat’s recent experimentation with artificial
intelligence as an executive partner in the creation and
animation of graphic elements supporting visual data
storytelling.
Specifically, after imagining what it would look like to
see the Mona Lisa grow up and age, in order to repre-
sent some of the most significant gender disparities across
“her” life stages, artificial intelligence was employed both
to model younger and older versions of her, and to generate
a male counterpart—also shown aging over time—placed
alongside her as a point of comparison.
Figure 7. Frame from the video “international women’s day
2024”.
Source: D. Squillante, S. Barletta, Italian National Institute of
Statistics, 2024.
1334 Statistical Journal of the IAOS 41(4)
Figure 8. Frame from the video “if we were 100–2018 edition”.
Source: D. Squillante, Italian National Institute of Statistics, 2018.
Here is the link to access the video, which has been
published on the official website, YouTube channel, and
institutional social media profiles:
Link:
https://www.youtube.com/shorts/zY0u_9eHqLs
2.2.3 Mainstream statistical trailers. Another category of
infographic videos that garners many views and interactions
consists of mainstream statistical trailers: simple and visu-
ally lighthearted representations of broad thematic areas
of general interest, designed to engage viewers and intro-
duce them to the rich informational heritage of the Italian
National Institute of Statistics.
Born from a creative process aimed at harmonizing
statistical accuracy with sensory experience, great care is
given to every detail—from data selection to framing, from
music choice to the r hythmic editing of textual and visual
elements.
The first example of this video type is the cult classic
If We Were 100–2018 Edition,” which condenses into less
than two minutes the portrait of an imagined Italy composed
of only 100 inhabitants—familiarizing viewers with the
concept of “percentage”—while narrating characteristics
that cut across territorial, demographic, and socio-cultural
dimensions (Figure 8).
Here is the link to access the video, which has been
published on the official website, YouTube channel, and
institutional social media profiles:
Link:
IT: https://www.youtube.com/watch?v=OSGs1FVhkpY
EN: https://www.youtube.com/watch?v=qBe3o6vbYlQ
Aimed at bringing statistics closer to children, the video
If We Were 100 C hildren adopts the same narrative logic to
portray an imagined Italy made up of just 100 children.
With colorful imagery, dynamic animations, and cheer-
ful, engaging music designed to maintain attention and
make learning both enjoyable and stimulating, the video
explores key aspects of children’s lives from friendships
to sports to internet use presenting statistics as a tool to
narrate children’s realities in a way that speaks directly to
them (Figure 9).
Here is the link to access the video, which has been
published on the official website, YouTube channel, and
institutional social media profiles:
Link:
IT: https://www.youtube.com/watch?v=awdHmoWyFu
E&t=15s
EN: https://www.youtube.com/watch?v=-zuOY9HHI2I
2.2.4 Flagship reports. Since its foundation, Istat has rec-
ognized that the authority and enduring value of cer-
tain editorial products such as the Italian Statistical
Squillante 1335
Figure 9. Frame from the video “if we were 100 children”.
Source: D. Squillante, Italian National Institute of Statistics, 2018.
Yearbook make them not only essential tools for dis-
seminating and communicating official statistics, but also
strategic assets for strengthening institutional identity, vis-
ibility, and engagement with both the general public and
national and international partners.
In an era increasingly characterized by fragmented and
fast-paced information, Istat has progressively expanded
its portfolio of “flagship reports” to provide the country
with authoritative and accessible overviews on key macro-
themes vital for interpreting the present and planning for
the future including the Annual Report and the Report
on Competitiveness.
To promote and enhance the accessibility of these
Reports —especially across communication channels not
suited to presenting the full documents but highly effec-
tive at reaching broad and diverse audiences —a dedicated
series of video infographics has been developed.
Two illustrative examples featured in this contribution
are the videos created for the Sustainable Development
Goals (SDGs) Report (Figure 10) and the Equitable and
Sustainable Well-being (BES) Report (Figure 11).
The SDGs video, in particular, offers a simplified yet
informative explanation of why and how the Sustainable
Development Goals serve as a global reference framework
for integrating economic growth with social justice and
environmental sustainability. It also presents a concise sum-
mary of indicators across thematic domains, aiming to raise
public awareness of the structure’s meaning, relevance, and
strategic content.
Here is the link to access the video, which has been
published on the official website, YouTube channel, and
institutional social media profiles:
Link:
https://www.youtube.com/watch?v=r4n0DwhrUR0
Encouraging everyone to develop full awareness and to
actively participate in social development, the video ded-
icated to the Equitable and Sustainable Well-being (BES)
Report s imilarly explains —in an accessible and light
tone— the complex structure of the BES domains and
indicators, and its usefulness for development policies
capable of planning and assessing beyond mere economic
growth.
Here is the link to access the video, which has been
published on the official website, YouTube channel, and
institutional social media profiles:
Link:
https://www.youtube.com/watch?v=gV3w8_JcGHQ&
list=PL0vceHDeWbohJQ-Ci_JfSnUW51-CXa5V0&
index=2
3 Some (non-)conclusive considerations
In the global Onlife era—characterized by the accelerat-
ing and often imperceptible blurring of boundaries between
analog and digital, physical and virtual realities—official
statistics face the dual challenge of maintaining scientific
rigor while adapting to a rapidly evolving communication
landscape.
1336 Statistical Journal of the IAOS 41(4)
Figure 10. Frame from the video “sustainable development goals (SDGs) report 2020”.
Source: D. Squillante, Italian National Institute of Statistics 2020.
Figure 11. Frame from the video “equitable and sustainable well-being report 2018”.
Source: D. Squillante, Italian National Institute of Statistics 2018.
Within this context, visual data storytelling products
have emerged not only as essential vehicles for rendering
complex statistical information accessible and engaging but
also as strategic instruments to counteract misinformation
and public disengagement.
Istat’s ongoing commitment to the multidisciplinary
development of infographics represents a forward-looking
response to these challenges, grounded in recent advances
in digital storytelling, neuroscience, communication
psychology.
This innovative approach aligns with the needs of a
visually oriented society increasingly influenced by digital
media consumption patterns, while striving to uphold the
Squillante 1337
democratic ideal of universally accessible and trustworthy
information.
However, this dynamic evolution is accompanied by
pressing organizational and resource-related considera-
tions. The production of high-quality infographic and
video-infographic content demands significant investments
in specialized human capital, technical infrastructure, and
collaborative workflows.
Balancing the principles of effectiveness, efficiency, and
economy—collectively known as the “3Es”—is crucial for
ensuring that these communication outputs deliver max-
imum impact without overextending limited institutional
resources. The hybrid model employed by Istat, combining
in-house expertise with strategic outsourcing, offers a repli-
cable framework for other National Statistical Institutes
(NSIs) facing similar constraints.
Moreover, the rise of artificial intelligence and auto-
mated content generation presents both unprecedented
opportunities and challenges. AI tools can augment the cre-
ative and analytical capacities of statistical communicators,
enabling faster prototyping and personalized user experi-
ences. At the same time, reliance on automation risks over-
simplification and loss of contextual nuance, emphasizing
the need for careful oversight and ethical standards.
Looking ahead, future research and institutional prac-
tice should continue to explore the intersection of sci-
entific rigor, technological innovation, and user-centered
design in statistical communication. Ongoing evaluation of
user engagement, comprehension, and trust metrics will be
essential for refining methodologies and adapting to shift-
ing audience expectations. By fostering interdisciplinary
collaboration and investing in capacity-building, NSIs can
enhance their resilience and relevance in an increasingly
complex and data-saturated world.
Ultimately, the question remains: how will Istat and
similar institutions sustain and amplify the performative
aesthetic of statistics—where empirical rigor meets evoca-
tive storytelling—so as to promote informed citizenship,
transparency, and democratic participation in the digital
age?
This article contributes to that reflection by unpack-
ing the multifaceted process of infographic and video-
infographic production, highlighting both its scientific
foundations and practical realities, and offering insights that
may guide the future of official statistical communication.
ORCID iD
Daria Squillante https://orcid.org/0009-0004-2603-4097
Funding
The author received no financial support for the research, author-
ship, and/or publication of this article.
Declaration of conflicting interests
The author declared no potential conflicts of interest with respect
to the research, authorship, and/or publication of this article.
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